scholarly journals L’Imagination au pouvoir: historia sztuki w czasach kryzysu lat 60./70

2019 ◽  
pp. 399-413
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Cultural Theory ◽  
Academic Discipline ◽  
Theoretical Background ◽  
New Developments ◽  
Critical Thought ◽  
Academic Knowledge ◽  
Art Historians ◽  
The 1960S ◽  
The University

The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studiedin terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.

scholarly journals L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s

2019 ◽  
pp. 243-256
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Cultural Theory ◽  
Academic Discipline ◽  
Theoretical Background ◽  
New Developments ◽  
Critical Thought ◽  
Academic Knowledge ◽  
Art Historians ◽  
The Times ◽  
The University

The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.

„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari

2020 ◽  
Vol 65 (1) ◽  
pp. 107-126
Author(s):  
Nicolae Sabău
Keyword(s):  
Art History ◽  
Vernacular Architecture ◽  
Early Modern Period ◽  
The United States ◽  
Fine Art ◽  
General Category ◽  
Access To Higher Education ◽  
Field Of Study ◽  
Art Historians ◽  
The University

"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "

scholarly journals Art and History, 1969–2019

2020 ◽  
Vol 50 (4) ◽  
pp. 567-586
Author(s):  
Peter Burke
Keyword(s):  
Case Studies ◽  
Art History ◽  
Turning Point ◽  
Art Market ◽  
Half Century ◽  
The Reformation ◽  
Art Historians ◽  
1960S And 1970S ◽  
The 1960S

The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?

Film Theory in the United States and Europe

2017 ◽  
Author(s):  
Warren Buckland
Keyword(s):  
United States ◽  
Academic Discipline ◽  
Rapid Development ◽  
Film Theory ◽  
The United States ◽  
Avant Garde ◽  
Reality Effect ◽  
The Subject ◽  
The 1960S ◽  
The University

Since the 1960s, film theory has undergone rapid development as an academic discipline—to such an extent that students new to the subject are quickly overwhelmed by the extensive and complex research published under its rubric. “Film Theory in the United States and Europe” presents a broad overview of guides to and anthologies of film theory, followed by a longer section that presents an historical account of film theory’s development—from classical film theory of the 1930s–1950s (focused around film as an art), the modern (or contemporary) film theory of the 1960s–1970s (premised on semiotics, Marxism, feminism, and psychoanalysis), to current developments, including the New Lacanians and cognitive film theory. The second section ends with a very brief overview of film and/as philosophy. The article covers the key figures and fundamental concepts that have contributed to film theory as an autonomous discipline within the university. These concepts include ontology of film, realism/the reality effect, formalism, adaptation, signification, voyeurism, patriarchy, ideology, mainstream cinema, the avant-garde, suture, the cinematic apparatus, auteur-structuralism, the imaginary, the symbolic, the real, film and emotion, and embodied cognition.

Approaching the Mughal Past in Indian Art Criticism: The case of MARG (1946 –1963)

2012 ◽  
Vol 47 (1) ◽  
pp. 167-203
Author(s):  
DEVIKA SINGH
Keyword(s):  
Cultural Identity ◽  
Art History ◽  
Art Criticism ◽  
Art Journal ◽  
Art Historians ◽  
History Of ◽  
The 1960S ◽  
Art And Architecture ◽  
Indian Art ◽  
Contemporary Artists

AbstractThe paper examines the model value of the Mughal period in MARG, the leading art journal of 1940s and 1950s India. It combines a discussion of some of the key historiographical questions of Indian art history and the role played by specific art historians, including European exiles who were among the contributors to the journal, with broader questions on the interaction of national cultural identity with global modernism. In this context, the Mughal period—celebrated in MARG for its synthesis of foreign and indigenous styles—was consistently put forward as an example for contemporary artists and architects. From its inception in 1946 until the 1960s the review favoured a return to the spirit of India's prestigious artistic past, but not to its form. Its editorials and articles followed a clearly anti-revivalist and cosmopolitan line. It aimed at redressing misunderstandings that had long undermined the history of Indian art and surmounting the perceived tensions in art and architecture between a so-called Indian style and a modern, international one.

scholarly journals “What’s in a Name?”

Ad Americam ◽  
2020 ◽  
Vol 21 ◽  
pp. 31-48
Author(s):  
Diana Benea
Keyword(s):  
American Literature ◽  
American Studies ◽  
Academic Discipline ◽  
Communist Regime ◽  
Higher Education System ◽  
The 1960S ◽  
The One ◽  
New Research ◽  
The University

The present article sets out to analyze the emergence and institutionalization of American Studies as an academic discipline in Romania, with a focus on the specific contexts and factors that influenced this process, and the ways in which its practitioners defined, constructed, and focused their endeavors. Taking the University of Bucharest as a case study and adding insights from other Romanian universities, the paper seeks to give an account of: 1) the ways in which the several decades-long tradition of teaching American literature in the Communist period (sporadically until the 1960s, but ever more substantially in the following decades) prepared the ground for the institutionalization of American Studies programs; 2) the “conditions of possibility” that enabled this institutionalization after the collapse of the Communist regime in 1989, with an emphasis on the restructuring of the Romanian higher education system, on the one hand, and the specific renegotiations of the field of American Studies, on the other; 3) American Studies curriculum development and its impact on Romanian academia as an example of curricular reform in the spirit of interdisciplinarity; 4) the situated contributions that Romanian Americanists have made to international scholarship in American Studies by bringing new research agendas to the fore.

Erwin Panofsky

2019 ◽  
Author(s):  
David Wagner
Keyword(s):  
United States ◽  
New York ◽  
Art History ◽  
Academic Discipline ◽  
Historical Analysis ◽  
The United States ◽  
Full Professor ◽  
New York University ◽  
Erwin Panofsky ◽  
The University

Erwin Panofsky (b. 1892–d. 1968) was a German art historian who, after immigrating to the United States in 1933, became one of the most influential figures in 20th-century art history. His method of reading works of art as historical documents and understanding their interpretation as intimately connected to the literary and philosophical currents of their times is called iconology. While his early writings reflect the theoretical problems of art historical analysis, his later writings aim more at applying than at justifying this procedure. Panofsky was born in Hanover. He went to high school in Berlin and subsequently studied art history at the University of Freiburg im Breisgau, where he completed his doctorate in 1913 with a prize thesis on Albrecht Dürer’s art theory. He worked as a Privatdozent from 1920 at the University of Hamburg, where he was appointed to the chair of art history in 1926 after defending his thesis on formal principles in the works of Michelangelo and Raffael. In his Hamburg years two important influences on Panofsky’s thought stand out: On the one hand, the neo-Kantianism of Ernst Cassirer and on the other, Aby Warburg’s iconological project of the afterlife (Nachleben) of Antiquity in Western art. Cassirer’s neo-Kantianism contributed to Panofsky’s project to define principles by which one may evaluate the artwork’s transhistorical aesthetic values. Aby Warburg’s concern for the shifts of meaning caused by the artwork’s relation to historical discontinuities contributed to Panofsky’s insight that a purely stylistic interpretive system, as proposed, for example, by art historian Heinrich Wölfflin would not do. Panofsky’s focus on the complex historical embeddedness of an artwork’s content in relation to its formal aspects, a focus influenced by his 1920 reworking of art historian Alois Riegl’s concept of Kunstwollen, facilitated the success of his iconological method. Panofsky taught in Hamburg as full professor until 1933, when he and his Jewish colleagues were dismissed. The new Nazi law for the Restoration of the Professional Civil Service excluded non-Aryans from teaching at universities. In 1934 Panofsky immigrated to the United States, where he had already taught at New York University as a visiting professor for alternate terms since 1931. In 1935 he became professor of art history at the newly founded Institute for Advanced Study in Princeton. All of his later publications were written in English. Panofsky’s importance for art history rests as much on his groundbreaking work for this academic discipline as on his ability to popularize his research via public lectures and eloquent studies.

The historical development of sinology in two Canadian universities: York University and the University of Guelph

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Kenneth Lan
Keyword(s):  
Higher Education ◽  
Content Type ◽  
Canadian Universities ◽  
Academic Knowledge ◽  
Internet Age ◽  
China Studies ◽  
Containment Policy ◽  
The 1960S ◽  
East Asian Studies ◽  
The University

PurposeThis paper gives a comparative analysis of the foundation of sinology in two Canadian universities. Despite not having diplomatic exchanges, Canada's new relationship with the People's Republic of China (PRC) ignited a China interest in the Canadian academe. Through York University and the University of Guelph (U of G)'s experiences, readers will learn the rewards and challenges that sinology brings to Canadian higher education.Design/methodology/approachThis paper offers an overview of the historical foundation of sinology in the Canadian academe. Who pushes through this process? What geopolitical developments triggered young and educated Canadians to learn about China? This paper assesses York and Guelph's process in introducing sinology by relying on university archival resources and personal interviews. Why was York University successful in its mission, which, in turn, made into a comprehensive East Asian Studies degree option in 1971? What obstacles did the U of G face that prohibited it from implementing China Studies successfully?FindingsAfter 1949, Canada took a friendlier relationship with the PRC than its neighbor in the south. As China–Canada relations unfolded, Canadian witnessed a dramatic state investment in higher education. The 1960s was a decade of unprecedented university expansion. In the process, sinology enjoyed its significant growth, and both York University and the U of G made their full use of this right timing. However, China Studies at the U of G did not take off. Besides its geolocation disadvantage, Guelph's top-down managerial style in the 1960s, which resulted in collegial disillusionment, was also a significant barrier to this program's success.Originality/valueBefore the Internet age, universities were the first venues for most Canadians to acquire their initial academic knowledge of China. After the Second World War, sinology became popular among students as China became one of the world's “Big Fives”. More Canadians became romanticized with Maoism while opposing America's containment policy. York and Guelph exemplified this trend in Canadian history. Contrary to popular belief, historian Jerome Chen did not establish York's China Studies. Likewise, an ex-US diplomat John Melby did not bring China into Guelph, sinology arrived due to individual scholastic initiatives. Visionaries saw envisioned China's importance in the future world community.

The Biblioteca Berenson at Villa I Tatti

2008 ◽  
Vol 33 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Michael Rocke
Keyword(s):  
20Th Century ◽  
Art History ◽  
Historical Research ◽  
Italian Renaissance ◽  
Renaissance Studies ◽  
Art Historians ◽  
The 1960S ◽  
Personal Library

Although it began as the personal library of one of the most influential art historians and connoisseurs of the last century, the Biblioteca Berenson now has a broad interdisciplinary scope that goes far beyond art and art history. As the library of Harvard University’s Center for Italian Renaissance Studies since the 1960s, it has become a major resource for research into all aspects of the society, culture and thought of Italy between about 1200 and 1650. Nonetheless the Berenson Library offers rich and often unique resources for art historical research, both on the Renaissance and on the 20th century.

Stanisław Ehrlich’s Critique of Legal Dogmatics: Then and Now

2020 ◽  
Vol 45 (2-3) ◽  
pp. 314-333
Author(s):  
Wojciech Zomerski
Keyword(s):  
Rule Of Law ◽  
Legal Theory ◽  
Theoretical Background ◽  
Point Of View ◽  
Eastern European ◽  
Critical Thought ◽  
External Point ◽  
The Law ◽  
The 1960S ◽  
Concept Of Law

The main aim of this paper is to reconstruct Stanisław Ehrlich’s critique of legal dogmatics by which he understood a legal discipline that explains in a systematic manner the normative material which consists of description, classification and systematization of norms. As an additional aim of this article is to remind about Ehrlich’s achievements and contribution to the regional legal theory, this is preceded by the author’s biographical note. The reconstruction of Ehrlich’s critique of legal dogmatics consists of three elements. Firstly, I discuss the author’s understanding of legal dogmatics and attitude towards it in the context of the domestic legal theory. Secondly, I consider the theoretical background of Ehrlich’s critique of legal dogmatics and I argue that it might be seen as a part of three broader threads in the author’s writings: realism, decision-focused concept of law and pluralism. Finally, I reconstruct Ehrlich’s critique of legal dogmatics formulated in the 1950s and in the 1960s. This is followed by a brief summary and consideration of Ehrlich’s possible application in the broadly understood legal theory. I shall argue that Ehrlich’s critique of legal dogmatics and his realistic concept of law might be interesting for all who examine the law in its broader social context, looking at it from the external point of view, adopting critical as well as post-analytical attitudes towards the law. As possible fields of Ehrlich’s application, I identify ongoing discussions on rule of law, legal education, adjudication and judicial formalism. I shall also argue that Ehrlich’s realistic concept of the law remains an interesting piece of Central Eastern European critical thought.

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